Following up his recording of Britten's Cello Suites, Daniel Müller-Schott is now exploring other areas of the repertory opened up by the legendary Mstislav Rostropovich. The Symphony for Cello and Orchestra was his first major work after the Cello Sonata of 1961.

BBC Music Magazine, February 2013These two 'symphony' concertos are hellishly demanding and Daniel Müller-Schott is more than equal to the task...A protege of Rostropovich, he's also well qualified to plumb their expressive depths. Yet my enthusiasm for this recording is qualified. The hectic, driven quality of his approach can become relentless...The Prokofiev Symphony-Concerto comes over best in a heroic if slightly one-dimensional performance.

Gramophone Magazine, February 2013[Müller-Schott and Saraste are] inclined to approach the work as a standard romantic concerto. The tone is rich and warm, the orchestral sound founded on the strings, with wind and brass more distant. Müller-Schott makes the music sing...Saraste backs him up wholeheratedly, though the WDR Symphony Orchestra's very decent playing is short on rhythmic cut-and-thrust.

American Record Guide, July/August 2013This brings me back to the present issue. This is a particularly strong contender. Muller- Schott is a passionate player with a fine technique, and he and Saraste communicate with unity and subtlety. Furthermore, the recording is particularly well balanced. From the viewpoint of the 21st they are particularly meaningful to us. I find this an outstanding release.

The Strad, September 2013He makes palpable the feeling of panic in the virtuosic Allegro giusto and plays its espressivo with graceful yearning. The piece concludes with more impassioned playing and impossibly high broken chords off the fingerboard of his 1727 Gofriller cello.